Folk influences and cultural references play a big role in Antonio Marras’ creations, which have always been accompanied by impressive sartorial techniques and refined materials. The Antonio Marras pre-fall 2016 collection explores folkloric themes, too, travelling all the way to Colorado, USA, where the iconic psychological horror movie The Shining was filmed. As those who have watched the movie know, the protagonist is Jack Nicholson, playing a man who plans to write his book at an isolated hotel. He gets hired for working as the hotel’s winter caretaker, meaning that he has to move to that place along with his family for some very long and dark months.
Imagining himself as Stanley Kubrick reborn, Antonio Marras directs a more cheerful version of the horror film, reinventing its major scenes and focusing on its main details. Then, he also explored the Native American theme of the movie, as the haunted hotel is indeed built on the site of a Native American burial ground. Overall, we could rightly consider this collection as a potpourri of Native American influences, Kubrick-inspired details (to be seen, for example, in the model’s fake eyelashes), Seventies-inspired pieces (the movie is based on Stephen King’s novel written in the Seventies), and specular motifs, which could be linked to Shining’s recurring scenes with mirrors.
There are, of course, red fabrics too, which always remind us of the fashion designer’s passionate love for his Sardinian origins (more precisely, he is widely known for his Ligazzo Rubio, which in Sardinian means ‘red thread’ that knots things together firmly, metaphorically standing for feelings). The Native American theme also gets intertwined with XIX-century traditional American pieces of clothing, including hats and ruffled sleeves, which could all be reconnected with this country’s wandering origins.
Rich in texture and with an apparent care in garments, the line-up succeeds in the designer’s goal of recreating a less scaring horror movie mainly thanks to the bold hues and geometrical patterns, which by the end of the collection almost take a surrealistic turn becoming more fluid, abstract and less rigid (is it Marras’ attempt to recreate Shining’s notorious ‘bloody scene’?). Those geometric patterns mainly come in reflecting motifs, taking advantage of the garments’ oversized silhouettes. For the first part of the collection, Marras plays with oversized lines and geometric cuts, designing maxi coats, maxi dresses and skirts, which mainly get combined with collarless tops.
As for the necklines, he particularly enjoys rounded or turtleneck necklines, including very few plunging necklines in the collection. Although band, choker and ring collars are the most featured ones, as soon as the Antonio Marras pre-fall 2016 collection draws to a close, the designer enjoys exploring Nehru and Jabot collars too, the latter of which give safe Grant Wood’s American Gothic touches to the outfits. Capes, tassels and fringes complete almost each one of the pieces, functioning as focal points.
Marras also explores a sort of Surrealistic Gothic theme, which may also be linked to Shining’s nightmarish scenes. Here he played with abstract motifs and deconstructed lines, which surely get enhanced with the mosaic glass windows on the background. Denoting terrific artistic skills and an obsessive passion for details, Marras has just unveiled one of the most impressive pre-fall collections of all time.
Photos courtesy of Vogue